I love the word "consideration" - and its meaning to think about something carefully and thoughtfully, to bring one's attention to something. With this piece, I am inviting people, through music, to consider the story of Matthew Shepard's life, and in particular, how he died.
"Above all, it's a beautiful and intimate space. The natural colours and textures of the historic materials are brought out, and through a stunning skylight, daylight is brought into the space that was formerly a courtyard. It's a gem of a theatre!"
"My philosophy as a director is this: that opera at its best is a place where the possible can encounter the impossible, challenging our notions of what our reality could be like. Imagination and empathy are what shift perspectives and start conversations about what our world could be like. It's a mistake to underestimate its value."
Derventzis loves that Beaumarchais' Figaro plays - the 18th century source material of Rossini's Barber - tell stories of rich people being outwitted by society's underdogs: "a woman and a servant."
"Regardless of whether I am with a new orchestra or not, I wish everyone a 'good morning' and then start playing immediately. It is important not to waste any time and both sides need to learn about each other."
"Everything is relative. You have just to be true with yourself, to know where your limits and qualities are and try to be always sincere."
"At the end of the day, it is our career and our life, and we need to make the artistic and personal choices that makes us who and what we are. It is important to accept all of the feedback, suggestions, and options with an open mind, but always sift through them to find your voice."
"The mobile and solitary nature of the job is one of the hardest things for singers, so my time with my family is really important to me. I'm really careful about letting my job compromise that and I've been lucky enough (so far) to have a good balance between time at home vs. travelling. When away I read and write a lot, which in combination with cross-fit and crosswords, keeps me sane."
I have different favorite singers, especially for the roles that I am singing. For Traviata, it's the great Virginia Zeani or Anna Moffo, for Konstanze in Entführung it's Eda Moser. For her interpretation, energy on stage, and the passion that goes into the singing, it's of course Maria Callas.
"We're in an era where things need to be tried. We can't just do the same. That's the argument against the model in America sometimes, where we just do traditional opera productions for the sake of doing them traditionally because no one wants to see anything different. That to me is not an acceptable answer."